The Drunkard's Progress: From the First Glass to the Grave is a 1846 temperance lithograph by Nathaniel Currier that was published by Currier and Ives. The work is based on John Warner Barber's 1826 lithograph The Drunkard's Progress, or The Direct Road to Poverty, Wretchedness, & Ruin. It is a nine-step lebenstreppe depicting a man's journey through alcoholism. He starts with a single drink and the arc ends in suicide, while his wife and child stand below in tears.
Critical reception has been poor since the lithograph was released, but it influenced other temperance-themed works. The Drunkard's Progress is used in high school American History classes to teach about the temperance movement.
Background
From the 1800s until the start of prohibition in 1920, the temperance movement was a major force in American life.[1] Simultaneously, Currier and Ives was the go-to publisher and manufacturer of mass produced lithographs in the United States. Their low-cost prints were found in homes and businesses across the country.[2]
In 1826, John Warner Barber published The Drunkard's Progress, or The Direct Road to Poverty, Wretchedness, & Ruin, a four-part lithograph depicting a family's journey to the poorhouse due to consuming alcohol.[3][4] Based on Barber's work, Nathaniel Currier created his similarly named The Drunkard's Progress: From the First Glass to the Grave.[5] It is one of several temperance-themed works published by Currier and Ives which show how the consumption of alcohol leads to ruin.[1]
Description
The Drunkard's Progress is a lebenstreppe, a common visual device in the 1800s.[6] Across the middle of the image is stone arch with ascending and then descending steps.[7] The image uses the nine stairs to represent nine stages of alcoholism, as imagined by Currier.[8] Below the stone structure, the male protagonist's wife and child stand by their burning home in tears.[1]
According to the print, the path to ruin starts with a singular social drink provided to the protagonist by "a woman of evidently questionable virtue".[9][10] He then progresses to drinking to "keep the cold out" and then, subsequently, to intoxication.[10] At the fourth step, the protagonist starts to engage in violence while intoxicated.[10] The arc peaks with the man, cigar in hand, partying with friends.[10][7] The sixth step, and first down, depicts the man falling into poverty due to his use of alcohol.[7] He then "forsaken by friends" which leads to him turning to crime.[10] The final stage shows the protagonist dying by suicide.[10]
Reception and legacy
The Drunkard's Progress has been mostly panned by commentators. Writing for the Baltimore Sun in 1930, Robert Sisk found the lithograph to be self-defeating by having the protagonist die by a gunshot instead of through drinking.[7] Douglas Naylor described it as "prize-deserving" in a 1933 article in the Pittsburgh Press.[11] In 1984, Tess Panfil, writing for the Berkshire Eagle, found the work to be overwrought in her review of a Currier and Ives exhibition.[12]
The same year as Currier, the Kellogg Brothers released their own version of The Drunkard's Progress.[13] In the Kelloggs' version, the family of the protagonist is replaced by a distillery and a man walking out the front with two money bags. English Professor John William Crowley suggests that the Kellogg Brothers copied their version from Currier.[13]
With The Drunkard's Progress, Currier established the plot arc used in temperance novels: a first drink quickly leading to a premature death. Mary Grover, Or, The Trusting Wife: A Domestic Temperance Tale was explicitly written by Charles Burdett to turn the image into a book.[14] George's Mother by Stephen Crane was also influenced by the lithograph.[15]
The work is presented as a primary source in classes on American history to teach about the temperance movement.[16] One social studies teacher said he uses it because the progression of alcoholism depicted closely matches the message of anti-drug programing in schools such as D.A.R.E.. Students have compared the simplistic just say no messaging of The Drunkard's Progress with Faces of Meth.[17]
References
Citations
- ^ a b c Le Beau 2007, p. 32
- ^ Le Beau 2007, pp. 21–25
- ^ Gleson 2012, p. 102
- ^ Mills 1996, p. 12
- ^ Gleson 2012, p. 103
- ^ Mills 1996, p. 26
- ^ a b c d Sisk, Robert T. (December 28, 1930). "Pictorial Reminders the Whatnot Era: The Naive Art of Mr. Currier and Mr. Ives". Baltimore Sun. Baltimore, MD. p. 80. Retrieved January 25, 2024.
- ^ Crowley 1999, pp. 1–2
- ^ Lender & Karnchanapee 1977, p. 1354
- ^ a b c d e f Crowley 1999, p. 2
- ^ Naylor, Douglas (May 3, 1933). "Lithographs Of Long Ago: Sermon Pictures of Drunkard's Fate Depicts Birth of Dry Ballyhoo". Pittsburgh Press. Pittsburgh, PA. p. 21. Retrieved January 26, 2024.
- ^ Panfil, Tess (February 2, 1984). "Currier and Ives at the Museum". Berkshire Eagle. Pittsfield, MA. p. 23. Retrieved January 26, 2024.
- ^ a b Crowley 1999, p. 20
- ^ Brown 1975, p. 237
- ^ Monteiro 2000, pp. 48–49
- ^ Joseph 2021, p. 1
- ^ Joseph 2021, p. 2
Bibliography
- Brown, Herbert Ross (1975) [1940]. The Sentimental Novel in America 1789-1860 (1975 Reprint ed.). New York, NY: Octagon Books. ISBN 978-0374910327.
- Crowley, John W. (1999). "Introduction". In Crowley, John W. (ed.). Drunkard's progress: Narratives Of Addiction, Despair, and Recovery. Baltimore, MD: The Johns Hopkins University Press. pp. 1–28. ISBN 978-0801860089.
- Gleson, William (2012). "Ten Nights in a Bar-Room and the Visual Culture of Temperance". In Churchwell, Sarah; Smith, Thomas Ruys (eds.). Must Read: Rediscovering American Best Sellers From Charlotte Temple to The Da Vinci Code. London: Continuum. ISBN 978-1441162168.
- Joseph, Peter (2021). "Teaching Social Studies and History: 'The Drunkard's Progress'". Detours: Social Science Education Research Journal. 2 (1). Retrieved January 27, 2024.
- Le Beau, Bryan F. (2007). "Art in the Parlor: Consumer Culture and Currier and Ives". The Journal of American Culture. 30 (1): 18-37. doi:10.1111/j.1542-734X.2007.00462.x.
- Lender, Mark Edward; Karnchanapee, Karen R. (1977). "'Temperance tales'. Antiliquor fiction and American attitudes toward alcoholics in the late 19th and early 20th centuries". Journal of Studies on Alcohol. 38 (7): 1347–1370. doi:10.15288/jsa.1977.38.1347.
- Mills, Laura K. (1996). American Allegorical Prints: Constructing an Identity (PDF). New Haven, CT: Yale University Art Gallery. ISBN 0-894670743. Retrieved January 27, 2024.
- Monteiro, George (2000). Stephen Crane's Blue Badge of Courage. Baton Rouge, LA: Louisiana State University Press. ISBN 978-0807126509.